【作者】 马芳芳；

【导师】 张福贵；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2014， 博士

【摘要】 80后文学作为一个以作者出生年代命名，做群体考察的文化研究，我们除了把它放在中国现代文学史发展的大流中进行外还需要用一个整体的眼光将它搁置在全球化文化大视野下来考察。这样我们的研究就不至于陷入狭隘的文学评论的偏见中，在共时和历时共同视角下来审视这个仍在发展、变化、进步的群体文学。进入二十一世纪的中国，随着以经济建设为中心的改革发展，人们对商品经济和消费文化不再陌生，随着科技与经济的发展，各国间的距离被拉近，全球化已经如期而至。中国的文化及其他被纳入其中，从全球化视角及中国现当代文学自身发展进程中，80后作家做为其中发展的一环在相同时代的物质与精神空间下产生属于自己的文学叙事是我们本论文研究的重点。除此为了使80后研究更加系统，本论文还要对80后文学的传播途径也展开研究，使80后文学的研究更加整体和系统化。绪论部分谈及80后概念；选题原因；研究现状；研究意义外本论文共分为三章，分别从文化背景方面对80后文学产生的历史根源进行总论；80后文学的叛逆叙事；80后文学的传播途径三个大方面进行研究。第一章中第一节先是对80后文学产生的时代背景进行总论，再次从全球化的来临和中国现当代文学观发展演变入手来看80后文学所处的地位。文化观念制约着文学的形式和发展走向，中国当代文学虽然已经被纳入全球化市场中，我们的文化观念也随着消费时代的文化趋同。这种消费观念改变虽然为我们带来了文化的多元发展和选择，但是这种文化多元其实在集体性的因市场而主导的文化选择中成为文化趋同也是不争的事实。80后作为一代没有战乱和苦难历史记忆的文学群体，他们没有对民族责任的背负，也少了文化衰败的反思，良好和平的物质生活环境，让他们和市场经济保持天然的亲和力。因此他们的文化选择和文化观念都受到全球化时代中国所处的经济发展、文化选择大背景的直接影响。我们从世界和中国文化发展进程两大方面总结出80后物质及精神生存空间。第二节先是讨论80后的物质生存空间，中国经济发展中的：中国文化产业的发展，对文化产业中80后文学产生的起点“新概念作文大赛”与“萌芽”杂志这一文学载体进行研究；文化生产媒介的转变；及经济发展对上层建筑的决策制定起到很大的决定作用：探讨国内独生子女政策导致的“80后独生子女”寂寞；再次继续研究80后的精神生存空间：受西方影响产生的大众文艺；后现代主义文化的游戏精神；消费观念的改变等。通过对80后物质生存和精神生存空间的共同探讨，找到了产生80后文学的历史根源。第二章中主要研究80后文学叛逆叙事。第一节从叙事内容上入手，我们首先列出叛逆主题：反抗父辈的文化霸权；反抗学校模式化的学习生活；反抗虚妄、残酷的传统文化理念。研究过程中通过梳理中国现当代文学史中相关叛逆叙事书写历史脉络，看不同年代时期相关的叛逆叙事，在纵向的历史比较中，更清晰分析80后和其他年代叛逆主题的不同之处，和他们独具特色的叛逆精神。通过此方法对他们面对不同事情中叛逆的具体表征进行分析。第二节我们研究除叛逆主题外，在叛逆叙事上，他们选择戏仿的方式对文学内容和形式进行颠覆性叙事。论文中分别选出韩寒和孙睿等人，对他们语言戏仿和对传统武侠小说创作模式的戏仿进行个例分析，以点带面进而更好的论述80后戏仿写作的叛逆、颠覆性叙事手段运用。第三节我们进行80后叙事形式的研究，和所有文学一样，80后的文学内容的表现也是通过文学形式来展开的。文体是在内容中展开的形式，它承载着文学想要表达的内容，一种文学体裁的形成是长期的创作实践的结果，被长期约定俗成规定下来具有基本的特殊要素结合体，80后一代人需要不一样的叙事形式来记录这些过程。除了传统形式上的文体外，作家叛逆思维方式外化的结果形成了对规范文体的颠覆与僭越的“跨文体”写作形式，这种跨文体写作形式是80后写作中主要的文体形式。因此我们需要梳理历史上对“文体”理论研究的发展脉络，理清文体概念，研究从文体的概念到文体所呈现的层面特征。明确文体概念才能更好的研究跨文体之后出现的新文体与传统文体的区别。明确文体概念和层次后再开始研究：受时代变革影响，主体审美内在的变化而产生的文学内容的外在形式的“跨文体”形式，我们需要使用语体学、叙事学、文化学等手段详细解读传统媒介下80后的特殊写作方式，看一代人思想、生活外化的文学内容是如何在叛逆叙事形式中形成的。除此还要分析80后文学中“跨文体”的形式特征：从打破传统文体边界，如小说、散文、戏剧、诗歌和融合新的非文学因素的文体形式如影视、网络、摄影、流行音乐、绘画。并对郭敬明——“跨世界系列”的跨文体范本个例进行从整体进入个体的系统研究。第三章主要针对80后文学传播方式进行研究，此研究使我们对80后文学的研究更加丰富和系统化，可观其文学生产的全部状态。现今文学的传播过程是越发重要不可忽视的一个环节。文学营销手段做为文学生产环节中不可忽视的存在，在今天以市场为主的时代，发行量和销售业绩也成为一个衡量文学价值的标尺。因此对传播方式的研究的重要性不言自明。第一节研究文学的传播手段：是通过媒体进行的，而媒体作为交流和传播信息的平台，它由来已久，只要能为信息的传播提供载体就可以称为媒体，而介于信息源和信息接受者之间利用媒体来达到传播目的的中介称为媒介。它可以使个人也可以是机构或者是可以传播信息的媒体。我们按其出现的先后可以分为传统的第一媒介——纸质媒体，如报纸、杂志、书本到广播、电视；第二媒介以技术发展为基础的多媒体互联网。第二媒介完成了公共话语和私人话语世界的消解，使任性得到释放，权威得到消解，解构了传统的个体存在方式，影响了社会阶级的构成，这使80后文学生产中传播机制的多样化形成。在多种媒体和媒介的共同运作下，除了为80后文学取得巨大的市场效益外还为科技发展和其他的社会发展方面带来了进步意义。此章从80后文学生产中媒体传播机制的多样化到第二节的多媒体与市场合谋下的媒介景观入手，列举80后作家代表韩寒及郭敬明具体媒介景观个例进行分析，并总结出80后文学的传播途径。多媒介的应用和市场的完美结合及作家自身商品化的过程，都体现了“80后”文学生产中媒体传播机制的多样化的特点，应正了他们的文学是消费时代下的产物。结语部分通过以上三章的分析，纵观80后文学的叛逆叙事从叛逆叙事内容和形式到传播途径的基本样式。系统的了解80后文学和文学生产的整体性，评论80后群体的文学审美取向和文学走向，并对其文学价值进行评论。更多还原

【Abstract】 post-80’s literature named by author born, do culture research of group study, wedon’t only put it in the history of modern literature development,but also inspect it inthe culture globalization by a whole vision, so that our study will not fall into theliterature review bias, and we can review this still in progress, change, developmentgroup literature under the view of synchronic and diachronic perspective.In twenty-first Century Chinese is no longer strange on commodity economy andconsumer culture, coming with the foreign culture which has been graduallyintegrated into our lives, the city dressed up in the commodity and covered by unreallight, the progress of science and technology fasten the speed of the world, the rhythmof life expanses with the desire. Countries differ with mass expansion, the Internetreduces the distance between countries, globalization has already come. Chineseculture and literature are included. Seeing from the angle of globalization and Chinesecontemporary literature’s development process,80writers, as part of development inthe material and the spiritual space of the same era, create their own literary products,and this is the focus of our research in this paper.It is out of the same life experience,we study the literary narrative. From the narrative content, the inner contradictions inthe process of growing pain, anxiety and life ideal and reality collide of post-80’s,finally, it shows through their rebellious struggle process, so we define thepost-80’sliterature narrative content as a direction of treason.And through this directionwe enter their life in the face of the specific characterization of the rebellious treasontoward different things. In addition to the rebellious theme, the narrative research notonly through the use of the narrative techniques of parody and cross genre writingnarrative form, but also by the narrative mode of treason. In the literature production,literature production in market economy today, is to become the priority amongpriorities to measure the value of literature. With the development, growth andexpansion of economy and science and technology, multi media and market collusionliterature communication mechanism has diversified, post80’s literature dominated inthe market, using different media to sell their literature products which made the market absolute victory gesture.In this paper, we will analysis the era background of post80’s literature in thecommon development process of globalization and China contemporary literature. Inorder to find the impact and roots of history which influnces80literaturedevelopment. Through the study of cross style writing narrative form and route oftransmission and the use of the literature in the narrative mode of rebellious themesand narrative skills, we standardize the parody style subversion and assume to sumdup the overall state of80literature. And then investigate the status of "literaturedevelopment in history of contemporary literature in Chinese and meaning of existence,understanding the unique value of existence.The introduction part talks about80’s concept; reason; research status; researchsignificance and this thesis consists of three chapters, respectively study the historicalroots of the80’s generation literature from the cultural background: rebelliousnarrative mode of80literature; research route of transmission of80literature.The first chapter is on the era background of literature, again from the view of thecoming of globalization and the development of Chinese contemporary literature, andfrom the view of the culture development process of China and the world, tosummarizes the materialistic survival way of80’s: in the Journal of world economyintegration environment, the starting point of80literature,bred in the China cultureindustry is “new concept composition contest "and" sprout "vector; transformation ofmedia cultural production; economic development for the superstructure decision playa greatlydecisive role, and to explore the domestic policy of" only child "lonely; andthe80’s living space of spirit: theimpact of mass literature and art in the west,post-modernism and cultural spirit of the game, the change of consumption concept.Through the discussion on the material existence and spiritual living space, find thehistorical causes of80’s literature.In chapter Two, we mainly study rebellious narrative mode of80literature. Fromthe narrative content, since80’s generation witness the self growth, from the face oflife dissatisfaction to heart angry feelings, the inner contradictions in the process ofgrowing pain, anxiety and life ideal and reality collide, final it is to show through theirrebellious struggle, we therefore bound narrative content of80literature in a directionof treason.Therefore, we extract a "rebel" narrative content of the most common one in80 literature, starting from the theme of the rebel against parents; against the school modelof learning life; revolt nihility, cruel and traditional culture. Finally based on theunderstanding of real life of civilian, to complete the whole human fate identity andself life.Through the history of modern literature in carding Chinese rebelliousnarrative writing history, we can see the rebellious narrative related to different timeperiods, in the longitudinal comparison, more clear analysis of differences in80s andother rebellious subjects, and their unique rebellious spirit, through this method to findout their specific characterization of treason in different things. In addition to treasontheme, they choose a parody on the literary content and form of subversive narrative.Han Han and Sun Rui were elected in this paper, through a case analysis of theirlanguage parody and the traditional mode of martial arts novels, and better to discussabout80’s parody writing rebellious subversive narrative means.Like all literature, literature content performance of80’s is fhrough the literaryform,and launched in the content of the form, it carries the literature content toexpress the formation, a literary genre is thelong-term results creation practice.Inaddition to the traditional form of style, the writer rebellious thinking mode formed thesubversion and arrogation and standardize style-"the cross style", the cross stylewriting form is the main form of80writing, it overturned the traditional writing’sintegrity, closed and the type of pure deconstruction of the traditional style, internalhierarchy,and go through the provisions of the external boundary of art and life,ablation, documentary and fiction.Therefore we need to sort out the history of thedevelopment of style theory research, clarify the literary concept, level character studyfrom the concept of style to style,under the affect of era change, literature aestheticinternal changes in the external form of the "cross genre" reform, we should usd aspecial way of writing and other means to interpret a detailed traditional media of80literature content, to see generation thinking and life form the narrative form ofrebellion.This section analyzes the features of "post80" Literature "cross style": frombreaking the traditional style of the border style, such as novels, plays, poetry, proseand fusion in non literary factors such as film and television, the new network, mobilephone short message, photography, popular music, painting and to the Guo Jingmingcase--"Cross World Series" systematic study of cross style.The third chapter mainly aims at the post80literature dissemination way. This study allows us to "literature of the more abundant, the propagation process ofliterature. Marketing means can not be ignored in literary production, mainly to today’smarket, circulation and sales performance has become a measure of literary value scale.So the importance of research on the mode of transmission is axiomatic.Communication means of literature is through the media, while the media as theexchange and dissemination of information platform, it is long-standing, as long as toprovide information carrier for information,it can be called the media.It can be personor institutions or news media. It can be divided into traditional--print media, such asnewspapers, magazines, books, television to broadcast media; The second mediacomplete digestion of public discourse and private world of discourse, the willfulrelease, authority to be digested, deconstructed the traditional way of individualexistence, affecting the composition of social class, the diverse propagationmechanism formed post80literature production. In the joint operation of variousmedia, in addition to obtain huge market in the development of science andtechnology and brings other social development of80literature progress.This chapter,under media landscape, from the media dissemination mechanismproduction diversification and multimedia and market collusion, enumerates thedissemination way and analysis writers of80literature, Han Han and Guo Jingmingcase, to see the e spread of literature consumption process.Through the analysis of the three chapter, we can make a comprehensive surveyfrom the basic style of the narrative form and content to the transmission, and have aoverall understanding of80literature and literary production. And studying thehistory and culture of the roots of the literature.更多还原