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作为非职业作家,高晖却拥有小说家、散文家和评论家的多重身份。小说家高晖不但把形式主义实验推进到省略空白的叙事层面,而且还将20世纪60年代至90年代末期的中国农村历史作为纵向的社会背景,同时折射出包括农村底层的种种现实生活形态,创作出的是具有亦真亦幻的独特审美特点的现代主义小说,同时为当下正在走向写作困境的诸如底层文学等写作路径的继续前行指出一条可能的出口。批评家高晖建构起自己独特的注重审美感受的批评体系,这是他热爱生命、用整个心灵参与诠释作品的另一种表现,由此可把他看作是现代著名批评家李健吾印象式批评方式的当代传人。
As a non-professional writer, Gao Hui possesses the multiple identities of novelists, essayists and critics. Gao Hui, a novelist, not only pushed formalist experiments to omit the blank narrative level, but also used the rural history of China from the 1960s to the late 1990s as the vertical social background and at the same time reflected the various real life forms including the countryside, It creates a modernist novel with an equally illusion of unique aesthetic features and at the same time points out a possible exit for the ongoing process of writing such as under-layer literature that is now heading into the dilemma of writing. Critic Gao Hui constructs his own unique criticism system that focuses on aesthetic feeling. This is another manifestation of his devotion to life and the interpretation of his work with his whole soul participation. Therefore, he can be regarded as a modern well-known critic Li Jianwu’s impressionism The contemporary way of criticism.