“70后”作家的鄉(xiāng)村小說研究
發(fā)布時間：2019-01-22 10:49
【摘要】：20世紀的中國文學史上,文學的鄉(xiāng)村敘事無疑是近百年來中國主流文學中成就最高的題材領(lǐng)域之一。隨著社會的轉(zhuǎn)型和文化語境的變遷,鄉(xiāng)村文學亦悄然發(fā)生著變化,且在不同時期,其敘事方式和主題內(nèi)涵也有著不同的表現(xiàn)。進入新時期以來,以“70后”為主體的新生代作家群開始逐漸步入到對鄉(xiāng)村的書寫當中。與前幾代作家相比,“70后”作家多以城市和自我生活為創(chuàng)作背景,對鄉(xiāng)村生活的描寫明顯減少,雖然鄉(xiāng)村小說創(chuàng)作數(shù)量不多,卻也呈現(xiàn)出獨特的個性,他們以細膩的筆觸與情感體驗,在追憶往昔與返鄉(xiāng)觀察的基礎(chǔ)上,記錄了當下真實的鄉(xiāng)村生態(tài)。其中既有“70后”作家們獨特的時代體驗、敘事風格與創(chuàng)作趨向,還隱含著他們獨立的價值觀念與情感認同。論文主要從作家的身份立場、審美視角及敘事策略等角度對“70后”作家的鄉(xiāng)村小說進行考察,概括總結(jié)出目前的鄉(xiāng)村小說創(chuàng)作主要呈現(xiàn)出三類敘述特點:第一種是以魯敏、艾瑪為代表對鄉(xiāng)村日常生活狀態(tài)的重新書寫,在恬淡的詩意中贊頌鄉(xiāng)村世界,傳遞蒼涼之下的溫情,謳歌純潔的人性,試圖唱起沉睡鄉(xiāng)村的田園牧歌;第二種是以魏微、徐則臣為代表的書寫漂泊于城市和鄉(xiāng)村之間始終歸鄉(xiāng)無望的群體,既回不去故鄉(xiāng)也走不出異鄉(xiāng),在無根的鄉(xiāng)村與都市的邊緣不斷掙扎徘徊,進而表達在由村進城這一身份轉(zhuǎn)變中產(chǎn)生的尷尬與焦慮;第三種是以劉玉棟、葉煒、李駿虎為代表書寫在經(jīng)歷了商業(yè)浪潮席卷后逐漸嬗變的鄉(xiāng)村,揭露轉(zhuǎn)型后的鄉(xiāng)村倫理道德沖突,通過對往昔鄉(xiāng)村風情的懷戀進而展開對當下現(xiàn)實鄉(xiāng)村的批判。這三種創(chuàng)作主線,融合著作家各自的成長經(jīng)歷與思維線索,從純粹書寫古風淳樸的鄉(xiāng)村生活,到回不去與走不出的現(xiàn)實困境,再到大背景下故鄉(xiāng)的日漸失語,展現(xiàn)的不僅是“70后”作家的鄉(xiāng)村敘述范式,更是夾雜著隔閡、陌生與無奈的歸鄉(xiāng)牽絆與鄉(xiāng)村凋零、故鄉(xiāng)淪陷、靈魂無處安放的時代之殤。
[Abstract]:In the history of Chinese literature in the 20 ~ (th) century, the rural narrative of literature is undoubtedly one of the most successful subject areas in Chinese mainstream literature in the last hundred years. With the transformation of society and the change of cultural context, rural literature also quietly changes, and in different periods, its narrative mode and theme connotation also have different performance. Since entering the new period, the new generation writers, mainly in the post-70 period, have gradually stepped into the writing of the countryside. Compared with previous generations of writers, most of the writers of the "post-70s" write with the background of city and self-life, and the description of rural life is obviously reduced. Although the number of rural novels is not much, they also present their unique personality. On the basis of recalling the past and returning home, they recorded the real rural ecology with fine brush strokes and emotional experience. Among them, there are not only the unique times experience, narrative style and creation trend, but also their independent values and emotional identity. The thesis mainly investigates the rural novels of the "post-70s" writers from the standpoint of identity, aesthetic perspective and narrative strategy, and summarizes the three kinds of narrative characteristics of the current rural novels: the first is Lu Min. Emma, on behalf of the rewriting of the daily life of the countryside, praised the rural world in the tranquil poetry, conveyed the warmth under the desolation, eulogized the pure human nature, and tried to sing the pastoral songs of the sleeping countryside. The second is the group whose writing, represented by Wei and Xu Zichen, drifted between the city and the countryside and had no hope of returning to their hometown. They could neither go back to their hometown nor go out of the country. They were constantly struggling on the edge of the rootless countryside and the city. And then express the embarrassment and anxiety in the transformation of identity from the village to the city; The third is written by Liu Yudong, Ye Wei and Li Junhu as the representatives of the countryside, which has gradually evolved after experiencing a wave of business, exposing the rural ethics and moral conflicts after the transformation. Through nostalgia for the past rural amorous feelings and then the development of the current reality of rural criticism. These three main lines of creation combine the writer's own growth experience and thinking clue, from pure writing the simple rural life of the ancient style, to the realistic predicament of not going back and not going out, to the gradual aphasia of the hometown in the big background. It shows not only the rural narrative paradigm of the writers after the 70s, but also the death of the times when they are mixed with estrangement, strange and helpless homecoming and rural decay, the fall of the hometown and the nowhere to place the soul.
【學位授予單位】：山西大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.42
本文編號：2413154
[Abstract]:In the history of Chinese literature in the 20 ~ (th) century, the rural narrative of literature is undoubtedly one of the most successful subject areas in Chinese mainstream literature in the last hundred years. With the transformation of society and the change of cultural context, rural literature also quietly changes, and in different periods, its narrative mode and theme connotation also have different performance. Since entering the new period, the new generation writers, mainly in the post-70 period, have gradually stepped into the writing of the countryside. Compared with previous generations of writers, most of the writers of the "post-70s" write with the background of city and self-life, and the description of rural life is obviously reduced. Although the number of rural novels is not much, they also present their unique personality. On the basis of recalling the past and returning home, they recorded the real rural ecology with fine brush strokes and emotional experience. Among them, there are not only the unique times experience, narrative style and creation trend, but also their independent values and emotional identity. The thesis mainly investigates the rural novels of the "post-70s" writers from the standpoint of identity, aesthetic perspective and narrative strategy, and summarizes the three kinds of narrative characteristics of the current rural novels: the first is Lu Min. Emma, on behalf of the rewriting of the daily life of the countryside, praised the rural world in the tranquil poetry, conveyed the warmth under the desolation, eulogized the pure human nature, and tried to sing the pastoral songs of the sleeping countryside. The second is the group whose writing, represented by Wei and Xu Zichen, drifted between the city and the countryside and had no hope of returning to their hometown. They could neither go back to their hometown nor go out of the country. They were constantly struggling on the edge of the rootless countryside and the city. And then express the embarrassment and anxiety in the transformation of identity from the village to the city; The third is written by Liu Yudong, Ye Wei and Li Junhu as the representatives of the countryside, which has gradually evolved after experiencing a wave of business, exposing the rural ethics and moral conflicts after the transformation. Through nostalgia for the past rural amorous feelings and then the development of the current reality of rural criticism. These three main lines of creation combine the writer's own growth experience and thinking clue, from pure writing the simple rural life of the ancient style, to the realistic predicament of not going back and not going out, to the gradual aphasia of the hometown in the big background. It shows not only the rural narrative paradigm of the writers after the 70s, but also the death of the times when they are mixed with estrangement, strange and helpless homecoming and rural decay, the fall of the hometown and the nowhere to place the soul.
【學位授予單位】：山西大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：I207.42
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