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我们还是要凝眸现实不知为什么,我国文学界一直在回避着现时的社会批判,而热衷于蓦然回首式的文化回忆。20世纪80年代,由于加西亚.马尔克斯的《百年孤独》和卡西尔的《人论》及李泽厚的“文化积淀说”的风靡,掀起了一股文化“寻根”热,中国戏剧界也跟着“文化”了一番。今天回头看,当时的文化热有两个特点很值得我们好好品味:一、就中国当代社会的现代化走向来说,我们的文化现状是由乡村走向城市,而八十年代的文化批判所浮现出来的文化记忆,却是从城市走向乡村。这
We still have to look at the reality for some reason. Our literary circles have been evaded from the current social criticism and are keen on turning back to first-class cultural memories. In the 1980s, due to the popularity of Garcia Marquez’s “One Hundred Years of Solitude” and Cassirer’s “Theory of Man” and Li Zehou’s “Cultural Accumulation Theory,” a culture of “root-seeking” fever , Chinese drama circles also follow “culture” a lot. Looking back today, there were two traits of culture at the time that deserved our good taste. First, as far as the modernization of contemporary Chinese society is concerned, our cultural status quo is from the countryside to the urban areas. The cultural critiques of the 1980s are emerging Cultural memory, it is from the city to the countryside. This