古典摹写、文化认同与创造性转化——《朱雀》《北鸢》与“江南三部曲”的不同书写策略

发布时间：2018-04-05 15:04

本文选题：葛亮　切入点：格非　出处：《学术月刊》2017年07期

【摘要】：葛亮的《朱雀》《北鸢》承袭了《金瓶梅》肇始开启的世情小说的风格,以工笔穷形尽相描摹日常生活的情状,散发着浓酽的古风雅韵。这与1990年代之后中国当代文学的创作更多转向本土资源、寻求文化认同的潮流相吻合。但他这种新古典主义文本在外观形态上颇为逼真,内在的活力与精魂却不可复得。相比之下,格非的"江南三部曲"对古典小说的效仿程度远不如葛亮,但它以贯穿三部曲始末的对于乌托邦的追寻串联起陆家一家四代人命运的主线,而与中国百年的宏大历史息息相关。格非在汲取中国古老文化资源的同时,注入了崭新的异质元素,并激活了传统的抒情传统,创造出了新型的"中国式诗意"。
[Abstract]:GE Liang's "Vermilion Bird" "Bei Kite" inherits the style of "Jin Ping Mei" 's world love novel which starts from the beginning, portrays the situation of daily life with meticulous style, and exudes strong ancient style and elegant rhyme.This is in line with the trend of seeking cultural identity in the creation of Chinese contemporary literature since 1990's.But his neo-classical text is realistic in appearance, but its inner vitality and soul can not be recovered.By contrast, Ge Fei's "Jiangnan Trilogy" imitates the classical novels to a lesser extent than GE Liang's, but it follows the main line that runs through the trilogy's pursuit of utopia and begins with the fate of the Lujia family of four generations.And it is closely related to China's grand history of one hundred years.While drawing on ancient Chinese cultural resources, Ge Fei injected new heterogeneous elements, activated the traditional lyric tradition, and created a new type of "Chinese poetry".
【作者单位】：复旦大学中文系;
【分类号】：I207.42

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