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杨守森认为,张继的小说于质朴的泥土气息中深藏着现实的苦涩与梦幻,人生的玄机与幽妙。其人物系列中最值得注意的是乡间平民百姓及乡村基层干部两类形象,由此揭示了中国农民依然无法摆脱的心灵困境以及现代文明进程的艰难。他的小说富有故事性,荒诞与反讽意味以及玄妙莫测的偶然性是其小说故事的特点。李茂民认为,张继的小说通过对农村社会关系的真实描写,使长期被遮蔽的农民身份问题呈现出来,这是他的创作明显区别于文学史上其他乡土作家和当今私人化写作的标志,因此可以将其创作称为新乡土小说。孙叔文认为,张继的长篇小说《去城里受苦吧》将艺术视野由农村伸向了城市,通过农民贵祥与村长关系的颠覆,展示了乡村权力秩序的动摇,又通过城里女人李春与贵祥的关系,展示了城市对乡村的进逼与消融。
Shou-sen Yang believes that Zhang Ji’s novels in the rustic atmosphere of deep hidden reality bitterness and dreams, life’s mystery and fantastic. The most noteworthy feature in his series is the image of both rural civilians and rural grass-roots cadres, thus revealing the plight of Chinese peasants still unable to escape and the difficulties of the process of modern civilization. His story is full of storytelling, absurd and irony, as well as mysterious and accidental nature of the novel’s story. Li Mao-min believes that Zhang’s novels present the long-shaded peasant identities through a true description of rural social relations, a sign that his writing is clearly different from other native writers in the history of literature and the present-day personal writing, Its creation is called the new native novel. According to Sun Shuwen, Zhang Ji’s novel “Going to the City Sufferings” extended the artistic vision from the countryside to the cities and demonstrated the wavering of the power order in the countryside through the subversion of Gui Xiang and the village chief, The relationship between spring and Guixiang shows the city’s intimacy and ablation of the countryside.