近二十年的中国文学发生于新的历史转型期,既回响着五四以来“人的文学”余音,又激荡着新世纪人们新的渴求,老、中、青和少年作家几代间相互冲突与对话,各种宣言、旗帜布满文坛,传统创作与新媒体写作同在,作家、批评家、媒体相互炒作与合谋,同时又彼此抱怨,美女文学、网络作品、少儿写作和影视文学更是令人眩晕,文化怀古与下半身写作并存,单一化的文坛格局被彻底打破。所有这些对文学史写作形成空前挑战。近年来出版的中国现当代文学史著作,均从特定的角度,以不同的篇幅对这一时期的某些文学现象作了卓有成效的表述。然而,仍有许多重要现象尚未引起编纂者的关注,如已进入文学史的某些作家作品在话语表述和文学史定位上尚可进一步斟酌,某些文学现象从命名到文学史意义的界定尚需更深入讨论。直面近二十年的中国文学,我们深切地感到在现代语境中建构起来的文学史模式苍白无力,急需走出传统言说模式,探讨新型的述史方式,即与这一时期文学创作实际情形相符合而又能体现出新世纪眼光的文学史结构。该时期文学有着较之以前完全不同的文学生态环境,各种新的现象、矛盾纠缠在一起,各类作品拥挤于不同的媒介,传统的传播空间、阅读秩序被打破,意义在质疑中碎片式生成,这就需要文学史著述者站在历史高度上甄别优劣,遴选出能真正体现这一时期文学成就的作家作品,以及具有开启、引领意义的作品。这其中应尽可能不受当事人观点的影响,不为其五花八门的旗号、宣言所左右,尽可能地拉开审视距离,作出独特的审美判断与意义定位。正是基于这种认识,本组文章从各自角度对近二十年一些中国重要文学现象的入史问题进行了反思,以期引起同人的关注。 Nearly two decades of Chinese literature took place in the new period of historical transformation, which not only echoed the remnants of “human literature” since the May Fourth Movement but also inspired generations of new thirst, old, young, middle-aged and young writers of several generations in the new century There are conflicts and dialogues among different countries. Various manifestos and banners are full of literary circles. Traditional writing and new media writing are in the same place. Writers, critics and the media hype and conspire with each other while complaining to each other. Literature, online works, children’s writing and video Literature is even more dizzy. The cultural nostalgia and the writing of the lower body coexist, and the simplistic literary pattern is completely broken. All of these forms an unprecedented challenge to literary history writing. The books on the history of modern and contemporary Chinese literature published in recent years have made fruitful expressions of certain literary phenomena in this period from different angles in different angles. However, there are still many important phenomena that have not drawn the attention of the compilers. For instance, some writers’ works that have entered the history of literature can be further considered in the discourse and the history of the literary history. The definition of certain literary phenomena from naming to the meaning of literary history Need more in-depth discussion. Faced with nearly two decades of Chinese literature, we deeply feel that the mode of literary history constructed in the modern context is pale and weak, and it is imperative to go beyond the traditional model of speech and to explore a new way of narrating history, that is, with the actual situation of literary creation in this period The structure of literary history that is consistent with and reflects the new century’s vision. Compared with the literary environment of the past, the new phenomena and contradictions are entangled with each other. The various works are crowded into different media and traditional communication spaces, the reading order is broken, and the meaning is questioned. Therefore, it is necessary for the writers of literary history to judge the strengths and weaknesses on the historical level, select the writers’ works which can truly reflect the literary achievements of this period, and have open and leading works. This should be as far as possible from the views of the parties affected, not for its all-encompassing banner, the declaration of about, as far as possible to open the review distance, to make a unique aesthetic judgment and meaning of positioning. It is precisely based on this understanding that the articles in this series reflect on the history of some important Chinese literary phenomena in the recent two decades from their respective perspectives with a view to arousing the attention of their colleagues.