论文部分内容阅读
当代文学史的写作一直是当代文学研究者关心的中心话题之一。自上世纪 80年代中期“2 0世纪文学史”概念的提出 ,到 80年代末开始的“重写文学史”的讨论 ,再到上世纪末洪子诚、陈思和两部文学史教材的出现所引起的争鸣 ,人们发现不仅当代文学史该“写什么”的内容问题没有解决 ,甚至连形式上的“如何写”也成了问题。 2 0 0 2年浙江大学出版社出版的吴秀明主编的《中国当代文学史写真》 ,就推出了一种旨在从书写形式上也进行变革、主张多元声音并存的“开放式”写作模式 ,并已引起了相当的关注。本刊借此机会推出三篇相关的讨论文章 ,分别就这种“开放式”文学史的产生背景、意义、前途和限度等一些问题加以探讨 ,以期把对这一问题的思考引向深入。
The writing of contemporary literary history has always been one of the central topics of concern to contemporary literature researchers. Since the proposal of the concept of “Literature History of the 20th Century” in the mid-1980s, the discussion of “Rewriting the History of Literature” started in the late 1980s, and the emergence of two textbooks of history of literature by Hong Zicheng and Chen Sihe at the end of the last century , People find that not only the content of “what to write” in contemporary literary history has not been solved, even the formal “how to write” has become a problem. The “History of Contemporary Chinese Literature” edited by Wu Xiuming, published by Zhejiang University Press in 2002, introduced an “open” mode of writing aimed at changing from writing to advocating the coexistence of pluralistic voices. And has aroused considerable attention. The journal takes this opportunity to launch three related articles for discussion, discussing some issues such as the background, significance, future and limits of this “open” literary history in order to deepen the thinking on this issue.