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一新时期小说在开放的文化背景下,出现了一个令人注目的特点,就是涌现出一大批文体家。他们张扬小说家的语言个性,在作品中显露出语言变异的明显征兆。在这股小说涌潮中,何立伟可算是一个勇敢的弄潮儿。何立伟的小说之所以得到读者的认同和赞赏,并不仅仅在于他描写了那种有着浓郁的地方色彩的、封闭的、古铜色的生活,抒发了桅子花一样的哀愁和美好而真诚的感情。而且更为主要的是由于他对小说的叙述话语进行了卓有成效的审美创造。何立伟立志要写出“美文”,他把自己作品的语言的审美创造叫“实验”,并决心不顾“荣毁所夹带来的忽然高兴和忽然悲哀”,只要“沉溺到工作本身的乐趣中,这似乎就够了”。这种对小说语言的执着追求和大胆探索的精神,确实令人敬佩。
In a new era of novels under the open cultural background, there is a striking feature that is the emergence of a large number of style body. They publicize the linguistic personality of the novelist, revealing obvious signs of language variation in their works. In this tide of novels, He Liwei can be regarded as a brave boy. The reason why He Liwei’s novel has been recognized and appreciated by readers is not merely that he described the closed, bronze life with rich local colors, expressing the sadness and beautiful and sincere feelings of the same kind of flower. But more importantly because of his fruitful aesthetic creation of the narrative discourse of the novel. He Liwei determined to write a “beautiful man”, he called the language of the aesthetic creation of his work “experiment”, and determined to ignore the “glory brought together suddenly pleased and suddenly sad”, as long as “indulge in the fun of the work itself, This seems enough. ” This dedication to the language of the novel and bold exploration of the spirit is indeed admirable.