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文学是现实的,其审美性的价值取向也只是其介入现实的一种方式。如若在这种思维的烛照下对《额尔古纳河右岸》进行解读,我们就能够发现这种边地民族文化书写与诗意化的写作方式的独特价值所在:这种类似于海德格尔寻觅“诗意的栖居”式的“家园”固守并非是“回归”式的退守,边地民族风情、文化的展示也并非一定要拉入“文化人类学”的理论框架中进行互释,它的意义不仅仅在于其对文学路途寻觅中的开拓,更在于其以超越嘈杂而混乱的社会语境的书写姿态而在诗意和边地民族风情的展示中介入现实的独特书写方式。
Literature is realistic, and the value orientation of its aesthetics is only a way of intervening in reality. If we interpret “the right bank of the Ergun River” under the candlelight of this kind of thinking, we can find out the unique value of writing style and poetic writing style of this border region: this is similar to that of Heidegger “Poetic dwelling ” style “home ” stick is not “return ” retreat, the border ethnic customs, cultural display is not necessarily pulled into “cultural anthropology ” theory Its meaning lies not only in its exploration of the literary journey, but also in the artistic style of poetic and borderland nationalities, which intervenes in reality with its writing style beyond the noisy and chaotic social context Unique writing style.