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中国现当代文学史上,真正将都市作为独立的审美对象与叙事主体来表现的,是20世纪30、40年代的“海派”作家和90年代“新生代”作家。两代作家对都市有着深刻的认识与体验,其中既有对都市共同的审美理解,又由于都市发展阶段和时代背景的不同,二者存在着明显的认同差异。“海派”作家更多的把都市生活看成“非法性”存在,而90年代都市小说更多的体现了对都市人类存在状态的“合法性”理解。
In the history of modern and contemporary Chinese literature, the real performance of metropolitan city as an independent aesthetic object and subject of narration is composed of writers of “Shanghai School” in the 1930s and 1940s and writers of “Cenozoic” in the 1990s. The writers of the two generations have a profound understanding and experience of the city. There are not only the common aesthetic understanding of the city, but also the obvious differences of identity between the two due to the different stage of urban development and the background of the times. “Shanghai School ’s writers regarded urban life as ” illegality “more, while the urban novels of the 1990s reflected the ” legality "understanding of the state of human being in the city.