摘要
王文兴的小说似乎是以晦涩难懂、字句精湛为人所熟知。在其全盘西化的立场下,其实有一个至高的艺术良心。通过美学决断,他激活了现代主义小说中汉字的统一美,并由此发现汉语写作融合具象性的"图画"和精神性"书法"的独特性所在。以《家变》、《背海的人》为代表的现代主义写作,是在抵抗日常白话文的过程中,以注入西方现代小说技法和中国古典文学精神的方式,呼应整个20世纪的"文白之变",从而完成了现代汉语的文学表现力的实验与开拓。
Wang Wenxing＇s fiction is known for its obscurity and well-chosen words. Despite its position of full-scale Westernization, there is a highly artistic conscience in it. Through an aesthetic determination, he activates the unified beauty of the Chinese characters in modernist fiction and finds out about the uniqueness of the concrete painting and spiritual calligraphy as combined by the Chinese-language writing. A Change in the Family and Backed Against the Sea, his representative modernist works, are injected with modernist techniques in the West and spiritual ways of ancient Chinese literature, in opposition to daily vernacular and in response to the change from the literary language to a vernacular one in the twentieth century, thus completing the experimentation with and exploration into the literary expression of modern Chinese language.
出处
《华文文学》
CSSCI
北大核心
2018年第4期72-79,共8页
Literatures in Chinese
关键词
王文兴
《背海的人》
图画
现代主义
Wang Wenxing
Backed Against the Sea
painting
modernism
