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如果说二十世纪八十年代文学革命的主角是“语 言／形式”的活,九十年代以来写作时尚发生了变化,越 来越多的作家转向生活的“经验”展示:以再现(repre- sentation),或者更响亮一些的说法是“真实再现”的方 式来表达对现实的观照意向,即叙事者对当下所发生 的一切只做一种主体倾向性不在场的状态呈现,细节 和场景成了写作的重心,而避免或干脆拒绝直接的自 我评判。或者说大多数读者即使从这种对经验的依赖 中捕捉到了作者的价值判断,一般也是一种似是而非 的“多元”价值立场。而这种主体倾向的“悬置性”叙述 使得当今的小说文本比以往任何一个时代都容易呈现 一种价值伦理的暖昧游移状态。下面我想以消费时代 的女性小说为例来具体说明这个问题。
If the protagonist of literary revolution in the 1980s was “language / form,” the writing style has changed since the nineties and more and more writers are turning to the “experience” of life: The repre- sentation, or the louder one, is the way of “real representation” to express the intentive intentions of reality, that is, the narrator only performs a state of subjective preference out of what is happening now Rendering, details and scenes become the focus of writing, while avoiding or simply rejecting direct self-judgment. In other words, even if most readers capture the author’s value judgments from this dependence on experience, they are generally a plausible “pluralistic” value stance. And the subjective “suspension ” narration makes the present novel more easily than ever before, a kind of ethical ambiguous migration state. Now I want to take the consumer era of female novels as an example to illustrate this problem.