摘要
有关浩然及其作品的研究,大多延续着将其视为一个象征性的政治符号的理解方式,认为作家在其作品中表现的政治理念,是"被迫"接受或"被动"图解,或者出于某种实用性的政治利益考量或权力欲所做的"违心"之举。而造成这种研究思路的就是政治/文学、压迫/反抗二元模式。但是如果我们把浩然及其作品放在特定的历史场景中来理解和讨论,浩然小说与激进政治/文艺实践之间的关系,正是一个越出政治/文学、压迫/反抗二元模式之外的历史个案。其20世纪50-60年代的小说创作,是对政治理念与文学传统、个人经验之间的裂隙的缝合,并由此在现实主义与反现实主义的文坛格局中确立了自己的独特位置,形成了独特的政治美学实践形态。
Hao Ran＇s works have long been interpreted as political symbols,as the author is believed to be forced to have accepted and illustrated the political ideas shown in his novels either against his will or out of practical considerations and even political ambitions.This approach of studies comes from the binary mode of politics/literature and repression/revolt.However,if placed into their particular historical context,Hao Ran＇s works in 1950s and 1960s,along with his stand of politically active/literary practice,are just a historical case example to go beyond the binary mode,with their unique political aesthetical practice form in the then literary realistic/anti-realistic structure.
出处
《玉溪师范学院学报》
2011年第3期19-31,共13页
Journal of Yuxi Normal University
关键词
当代文学
激进实践形态
历史视野
modern literature
radical literary practice
historical perspective
