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一开始,先锋派是以一种游戏精神和形式操练来开始他们对意识形态的疏离,但他们在这条路上越来越远,最终陷入文本自恋(技术自娱)而不能自拔,他们在充分享受语言本身的欢愉的同时,却忽略了一个很根本的问题,那就是:精神的缺席。这种对精神的自觉放逐和对探索的摒弃,毫无疑问窒息了他们作品的深度空间,使他们的精神产品在读者的心目中不免产生皇帝新衣式的疑问。一般说来,1985年是中国当代小说最富转折意味的一年,自马原之后,当代小说进入了技术自觉的时代(八十年代初期的意识流只能看作是一种尝试性的技术借鉴)。
In the beginning, the avant-garde began their ideological alienation by practicing in a spirit of play and form, but as they moved farther and farther down the road and eventually fell into narcissistic (self-entertainment) text, While fully enjoying the joy of the language itself, it ignores a very fundamental issue: the absence of the spirit. This conscious exile of spirit and abandonment of exploration undoubtedly stifled the depth of their works so that their spiritual products inevitably give rise to doubt about the Emperor’s new clothes in the eyes of the readers. In general, 1985 is the year with the most turning point in contemporary Chinese novels. Since then, contemporary novels have entered a period of technological self-consciousness (the stream of consciousness in the early 1980s can only be regarded as a tentative technique Learn from).