诗人立场与新启蒙主义历史叙事——试论张炜文学创作的一条主线  

The Poet’s Position and the Historical Narrative of Neo-Enlightenment:On a Main Line of ZHANG Wei’s Literary Creation

作　　者：杨希帅 YANG Xi-shuai(School of Literature,Henan University,Kaifeng 475001,China)

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《山西大学学报（哲学社会科学版）》2022年第6期90-99,共10页Journal of Shanxi University(Philosophy and Social Science Edition)

基　　金：国家社会科学基金重大项目“中国文学学术现代化进程研究”(21&D263)。

摘　　要：诗人立场、审美性道德批判,与新启蒙主义历史叙事的二律悖反关系构成了张炜文学创作的一条主线。这条主线使张炜1980年代的创作反映出新时期农村改革的不足与缺陷,并对其做出了审美性道德批判。张炜这种从诗人立场出发的审美性道德批判使他在“人文精神讨论”时期,没有像人文精神提倡者那样在1980年代到1990年代之间产生主体性的危机,从而能够在更为全面、客观地看待商业主义后继续反省和批评商业主义。并且,张炜将这种从诗人立场出发的审美性道德批判延续到了他在1990年代的创作中。The poet’s position,aesthetic moral criticism,and the antinomy of the historical narrative of the New Enlightenment constitute a main line of ZHANG Wei’s literary creation.This main line makes ZHANG Wei’s creations in the 1980 s reflect the shortcomings and defects of rural reform in the new era,and make an aesthetic moral criticism to them.ZHAGN Wei’s aesthetic moral criticism from the poet’s standpoint prevented him from having a crisis of subjectivity between the 1980 s and 1990 s like the advocates of the humanistic spirit during the period of“discussion on humanistic spirit”,so that he could continue to reflect and criticize commercialism after examining the commercialism in a more comprehensive manner.Moreover,ZHANG Wei continued this aesthetic and moral criticism from the poet’s standpoint into his creations in the 1990 s.

关 键 词：诗人立场 新启蒙主义历史叙事 审美性道德批判 商业主义 

分 类 号：I206.7[文学—中国文学]