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(1)宛如一个没有指南针的航海者,一个丢失了城市地图的旅人,90年代文学突然被抛入一个没有目标没有方位的“鬼打墙”式的无物之阵中。古典式的严肃写作无人喝采蜷曲为陈忠实的奇观展览与张承志的僵硬吼叫;关涉意识形态的叙事在王蒙《恋爱的季节》中转化为所指脱离能指的反讽语流;先锋小说群体在历史、寓言和语言谜宫中把精力和才华挥霍干净后作鸟兽散;商业消费写作集团高举着拜金拜势的标语牌源源不断地生产文艺垃圾;新写实诸公抱着一堆油条奶粉白菜煤气罐上气不接下气地唱着
(1) Like a sailor without a compass, a traveler who has lost a map of the city, the 1990s literature has suddenly been thrown into a “ghost-and-wall” style that has no purpose and no orientation. Classical writing serious no one applause curly Chen wonders for the spectacle show and Zhang Chengzhi’s stiff roar; related to the ideological narrative in Wang Meng, “the season of love” into the meaning of escape from the meaning of the irony; avant-garde novels In the history, parable and language mystery Palace, the energy and talent splurges clean and make birds and beasts; commercial consumer writing group holding aloud worship of the placard endless production of literary junk; the new realistic holding a bunch of fritters cabbage gas tank Snapping out of breath