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作为传记作者,在三四十年的人物传记创作过程中,笔者深感走进历史的最好方式莫过于通过展现不同人物命运中的细节来阐释历史,在文学架构的基础上还原历史,在历史中描述命运。每一次创作都会给笔者带来新认识与体验,20世纪80年代后期,笔者在创作长篇历史纪实《文坛悲歌——胡风集团冤案始末》时对彼时中国知识分子群体产生了不同的认知,描述了不同性格的文人在面临命运折磨时的不同表现。1990年《恩怨沧桑——沈从文与丁玲》成书,笔者完成了对传记写作形式的新运用。这一运用对笔者后来的《收获》专栏“沧桑看云”的写作有直接影响,笔者在这一系列人物写作中立足于所写对象的性格与时代的联系。1997年,笔者开始翻译兰德的《中国通》,翻译该书的过程是传记创作的自然延伸。2004年笔者开始着手创作《封面中国》,探究被外面世界所关注、叙述的中国历史,并将不同年代的人物串联起来予以解读和叙述。在创作中,笔者致力于挖掘人物的命运与性格,强调时代历史对人物命运的影响。
As a biographer, the best way for the author to get deeply into history during the three or four decades of biographical creation is to explain history by showing the details of different people’s fate and to restore history on the basis of literary structure. Describe the fate of history. Each creation will give the author a new understanding and experience. In the late 1980s, when I wrote a long historical documentary, a lament of literary circles - the unjust case of Hu Feng Group, I made a different understanding of the Chinese intellectuals at that time , Describing the different manifestations of literati of different personalities in the face of the torture of destiny. In 1990, “Complaining vicissitudes of life - Shen Congwen and Ding Ling,” a book, the author completed a new use of biographical forms of writing. This application has a direct impact on the author’s later “Harvest” column “writing” vicissitudes of the cloud “, the author in this series of character writing based on the character of the object written and the times. In 1997, the author began to translate Land’s ”China Communication," and the process of translating the book was a natural extension of biographical creations. In 2004, the author started to work on the cover of China, explored the history of China, which was concerned and narrated by the outside world, and interpreted and narrated the characters of different ages in series. In the creation, I devote myself to digging the fate and character of the characters, emphasizing the impact of the history of the times on the fate of the characters.