摘要
汪曾祺所追求的超功利的率性自然的美学思想在启蒙与救亡的双重变奏的现代文学中注定是一个边缘性的存在。即使进入新时期,政治与文学的蜜月期也让以天下为己任关心民瘼的作家以牺牲文学的启蒙的审美一维而获得了启蒙的文学的功利性的轰动效应,但他的秉性气质、生活阅历都决定了他的超功利性的审美叙事风格与主流文坛的格格不入。到了文学与政治分离回归文学本体的九十年代,失去了对文学的敬畏和职业操守的新新作家在与钱共舞的欲望泥淖中将文学打扮成码字儿的职业,嗜短篇小说如命而且宣称自己只会写短篇小说不知长篇小说为何物的汪曾祺也只能在众声喧哗、多元共存的无名时代处于边缘的边缘的位置了,这种边缘化的叙事美学风格在叙事题材的边缘化、叙事观念的边缘化、叙事风格的边缘化等方面得到了鲜明的体现。
WANG Zeng-qi＇s pursuit of the forthright ultra-utilitarian natural aesthetic thought is doomed to be a marginalized existence among the modern literature with the themes of enlightening the people and saving the nation.Though in the new period of the honeymoon of politics and literature,WANG,for his nation and people,sacrificed literary aesthetics in his works,but his natural disposition and life experiences determined that his ultra-utilitarian aesthetic narration style are incompatible with the mainstream literature.In the 1990s when politics and literature were separated,writers who lost their pursuit of literature and ethics took literature as a profession for earning money by laying bricks of words,while WANG declared that he did not know what long stories were and could only write short stories.As a result,in such a time of multi-coexistence he could only be marginalized,which is showed in his narration themes,narration concepts,and narration styles.
出处
《南京航空航天大学学报（社会科学版）》
2011年第3期55-61,共7页
Journal of Nanjing University of Aeronautics & Astronautics（Social Sciences）
关键词
汪曾祺
叙事题材
叙事观念
叙事风格
边缘化
WANG Zeng-qi
narration themes
narration concepts
narration styles
marginalization
