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20世纪90年代以来,许多重要的当代作家都选择了家族叙事作为自己的创作题材。其原因一方面是作家创作观念使然,另一方面是基于创作主体对叙事性别的发现。这在许多女性作家创作的家族叙事作品中尤为明显,如王安忆的《纪实和虚构》、徐小斌的《羽蛇》、项小米的《英雄无语》。这些承载女性家族叙事的长篇小说叙事结构和话语形态,分别代表了三个特征:其一是女性主人公居于家族叙事的中心位置,显示出女性本体叙述的话语色彩;其二是由家族叙事的伦理主题,开始走向神话叙事的审美叙事。其三是小说内蕴着神秘、超验的神话叙事。
Since the 1990s, many important contemporary writers have chosen family narrative as their creative theme. The reason is that on the one hand, the author’s conception of creation dictates, on the other hand, the discovery of the narrative gender based on the creative subject. This is particularly evident in the works of family narratives written by many women writers, such as Wang Anyi’s “documentary and fictionalization”, Xu Xiaobin’s “Plumage” and Millet’s “Heroic Speechless.” These narrative structures and discourse patterns of the novels carrying female family narrative represent three characteristics: one is that the female protagonists live in the center of the family narration, which shows the discourse color of the female narrative; the other is the ethics of family narration Theme, beginning to the aesthetic narrative of mythological narrative. The third is the novel contains mystical, transcendental mythological narrative.