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在“启蒙的文学”语境下,20世纪30年代社会影响较大的一些长篇小说,其中以《子夜》、《家》和《骆驼祥子》为代表,一直被新文学史命名为“启蒙经典”。然而,如果我们从小说叙事美学的视角来考察,就会发现,它们实际上分别代表了三种不同的叙事模式:社会叙事、自我叙事与人生叙事,由此导致它们之间文化、美学价值的差异。本文从文学经典的本原出发,通过分析,试图指出:主体性缺失的《子夜》和非审美激情膨胀的《家》,其思想和艺术价值都受到严重损害,只有存在意义上的《骆驼祥子》,才接近具有人类性和永久艺术魅力的真正的文学经典。因此,对它们的重新评价,具有对新文学史经典重构的意义。
In the context of “enlightening literature ”, some of the novels with larger social influence in the 1930s, represented by “Midnight”, “home” and “camel Xiangzi”, have been named “ ”Enlightenment classic“. However, if we look at it from the perspective of narrative aesthetics, we will find that they actually represent three different modes of narrative: social narrative, self narration and narration of life, which leads to their cultural and aesthetic values difference. Based on the analysis of the literary canon, this article attempts to point out that the ”midnight“ of subjectivity and the ”home" of non-aesthetic passion have been severely damaged both in thought and artistic value. Only in the sense of existence, Only close to the real literary canon with humanity and permanent artistic charm. Therefore, the re-evaluation of them has the significance of the reconstruction of the classic history of new literature.