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谈及“中国现代短篇小说”这一概念的缘起,我想,人们不由得都应该会想到胡适发表于1918年的《论短篇小说》一文。因为它是在中国小说发展的历史长河中,首次对“短篇小说”这一文体在理论层面上进行界定的文章。从那以后,“短篇小说”作为独立的文体形式,受到了小说理论家和创作家们广泛的关注。翻开五卷本《二十世纪中国小说理论资料》(北京大学出版社1997年版),我们不难发现,在中国现代小说发展的每一个时段,都有对短篇小说的文体特征进行专门性考察的理论文章,也有对短篇小说创作技法较为全面、系统的介绍性的文论乃至专著;至于有关短篇小说的评论、创作谈,抑或是些片鳞只爪的理论识见,更是不乏其例。这是一个十分耐人寻味的现象。短篇小说从一开始就获得了新文学家们这般的青睐和宠幸,这是无论中篇小说,或长篇小说都无法企及的。
Turning to the origin of the concept of “Chinese modern short stories,” I think people should not think of Hu Shih’s 1918 article “On Short Stories.” Because it is the first time in the history of the development of Chinese novels, “short stories ” this style is defined on the theoretical level articles. Since then, as an independent style of writing, short stories have drawn the attention of novel theorists and writers alike. Opened five volumes of “Theory of the 20th Century Chinese novels” (Peking University Press, 1997 edition), we can easily find that in every period of the development of modern Chinese novels, there is a special study of the stylistic features of short stories Theoretical articles, but also for the short story creation techniques more comprehensive and systematic introduction of literary theory and even monographs; as for the short story commentary, writing, or some of the theoretical knowledge of the scales only claw, there is no lack of examples. This is a very intriguing phenomenon. From the very beginning, the short stories won the favor and favor of the new writers, which can not be achieved by novels or novels.