摘要
改革开放四十年来,中国当代文学的一个演变轨迹是从作家-编辑式的文学生产模式向导演-作家式的文化生产模式位移。前者的代表人物是路遥,虽然在其成长中,不乏编辑对他的帮助与提高,但他既是文学生产的主体,也一直掌握着创作的主动权。后者的代表人物是刘震云、严歌苓,他们在为导演写作的过程中已让文学丧失了自主性,从而也让其作品呈现出"电影小说"的特征。而在这种现象的背后,隐含着印刷文化向视觉文化转型的时代信号,也潜藏着纯文学生产向大众文化生产演变的诸多信息。
In recent forty years,one of the evolution trails of Chinese contemporary literature is the literary production mode shift from the writer-editor to director-writer.The former representative is Lu Yao.Although he received lots of assistance from editors,he is the subject of the literary production and has always grasped the initiative of production.Whereas the latter representatives are Liu Zhenyun and Yan Geling.In the process of writing for directors,they have deprived literature of its autonomy,thus making their works show the characteristics of'film fiction'.Behind this phenomenon,there is an era signal of the transformation from printing culture to visual culture,and a lot of hidden information lurks,which is about the evolution from pure literature production to mass culture production.
出处
《江西社会科学》
CSSCI
北大核心
2019年第3期98-107,255,共11页
Jiangxi Social Sciences
基金
国家社科基金项目"大众文化与文学生产的关系研究(1990年代以来)"(15BZW008)
教育部人文社科重点研究基地重大项目"中国当代大众文化形态
成因
演变及评价的诗学研究"(16JJD750009)
