摘要
《二十四城记》和《出梁庄记》用不同的艺术形式、不同的题材,表达了相同的精神困境和艺术思考。两个艺术文本在内在精神和言语形式上构成了互文,一起见证了70后个人精神视域中的中国经验,隐喻着一代人回忆的荒凉与归乡的无望。处于转型期的中国,在经济获得一定发展以后,怎样真正地在日常生活中将"人文观照"和"社会救赎"有机地融合在一起,是两位艺术家创作的内部动因,也是潜意识里祈求获得的社会回应。
With different art forms and different subjects, 24 city and Chu Liang Zhuang Ji expressed the same spirit and artistic thinking.The different artistic texts were intertextual in mental and verbal forms, witnessed China’s experiences of the 1970s in remembering desolately and homecoming hopelessly, implying one generation’s experiences in the above respect.In the transition period of China, after the economy had gained a certain development, how to truly fuse in＂humanistic view＂and＂social salvation＂to-gether organically in the daily life was the internal cause of the two artists, subconsciously hoping for social response.
出处
《中国石油大学学报（社会科学版）》
2015年第4期86-90,共5页
Journal of China University of Petroleum (Edition of Social Sciences)
基金
国家社科基金重大项目(12&ZD168)
