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历史文化大散文正陷入一种“普遍而深刻的匮乏”当中——而这可能正是某些历史文化大散文作者主动采取的一种写作策略导致,他们并不指望在“心灵和精神”的层面去开拓出新的生存空间,而从一开始就打算用“堆砌”的手法将崩塌的话语城堡修葺一新。相形之下,王开林的历史文化散文创作则反映出了从文学本体出发的另一种写作策略:在湖南地域特色浓郁的历史文化散文系列写作中,他只是把历史当作一段与现实分割开的审美距离,将历史做为他所要与之心灵对话并介绍给读者品阅的历史对象的录音背景。
Historical and cultural essays are falling into a category of “universal and profound lacking” - and this may be exactly what some writers of historical and cultural essays take for granted. They do not expect “ Spiritual ”level to open up new living space, but from the very beginning intended to use “ piling ”approach will be collapsed words castle repair a new. By contrast, Wang Kelin’s historical and cultural essay creation reflects another writing strategy from the perspective of literary noumenon: in his series of rich historical and cultural essays written in Hunan, he merely regarded history as a period of separation from reality Aesthetic distance, the history as he wants to dialogue with the soul and introduced to readers reading historical objects of the recording background.