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古典叙事艺术传统中 ,故事的主人公只能是“英雄” ,即具有显赫地位、行为具有重大意义的人物。但当叙事艺术通过市民戏剧、话本、小说等形式进入到都市市民的艺术生活中后 ,发生的一个重要变化就是叙事作品中人物身份的变化。市民文学中的小人物与古典叙事中的英雄相比 ,重要的差别在于他们的性格和行动失去了重大的意义。城市文化越是发展 ,个人行为的意义就越是萎缩。在现代的大都市里 ,对社会来说具有重大意义的行为都已经越来越远离了个人行为的可能性。现代城市生活中个人的无能为力状态在市民艺术所塑造的形象中却反转了过来。当代的通俗叙事艺术中常常可以看到“英雄”式的主人公 ,这种“英雄”的意义与我们所知的现实世界的意义关系之间存在着明显的矛盾 ,实质上是一种现代人寻求庇护的幻想
In the classical narrative art tradition, the protagonist of the story can only be a “hero”, that is, a person who has a prominent position and acts of great significance. However, when the narrative art enters the artistic life of urban citizens through civic drama, calligraphy, novels and other forms, an important change has taken place is the change of the identity of the characters in narrative works. The main difference between the civic literati and the hero in the classical narrative is that their character and their actions have lost their great significance. The more urban culture develops, the more the meaning of individual behavior shrinks. In modern metropolis, behaviors of great significance to society have moved away from the possibility of individual behavior. The powerlessness of the individual in modern urban life reverses in the image of civic art. There is a clear contradiction between the meaning of this “hero” and the meaning of the real world as we know it. In essence, it is a modern pursuit Asylum fantasy