【作者】 王婷；

【导师】 施战军；

【作者基本信息】 山东大学 ， 中国现当代文学， 2010， 硕士

【摘要】 纷繁的中国现当代文学充斥着各色风起云涌的流派、现象,但构成文学史脉络的不单单是这些轰轰烈烈的风云人物,文学是错综复杂,多源而又多元的。很多拥有文学史价值的作家和作品因为种种原因被学者和批评家忽视、被热闹的文学潮流遮蔽,挖掘和发现这样的作家作品当然是文学研究者一项重要的工作。本文选取蒋韵和笛安母女这对相对其文学成就显得备受冷落的作家作为研究对象,旨在通过对其独特性的挖掘,为文学史与经典的筛选提供些许有益的启示。身为母女的两位作家在写作源头上可以追溯到同一个文学传统：温柔敦厚的古典文学传统。但共同的精神气质并没有使她们的文学呈现相同的风貌,在对人性中各种观念性主题的书写中,在艺术表现手法上,可以看到她们对社会人生的不同理解和感悟,看到作家间的代际差异。而她们的文学坚持是一种可贵的品质,在如今的年代更倍显珍贵。本文从蒋韵和笛安的创作特点出发,分上篇、中篇和下篇三部分,在与同辈作家的对比中和母女二人创作的对比中,彰显出不同代际作家之间的传承与差异。上篇分别对蒋韵和笛安母女二人写作上的艺术特色及其在同辈作家中的独特性进行闸释。对蒋韵的闸释,根据她不同阶段的写作特色,以时间为界分为二个时期,将蒋韵每个时期的特点与当下文坛的潮流进行对比,展示了蒋韵创作的独异性。第一阶段(1979年-1989年)蒋韵处于作家的成长期,创作轨迹贴近自身经历和文学潮流,但已显现出自己善于在大历史的背景下捕捉个人生存状态与心路历程的特色；第二阶段(1989年-1999年)蒋韵的创作开始走向自我的寻找之路,告别文学潮流,在对生命存在意义的思考中漂泊,对“死亡”主题反复书写；第三阶段(1999年至今)蒋韵的创作摆脱了单纯对于抽象哲思的探讨,再次回到日常生活中去,同时回归到中国传统文化中去,在这些丰富的资源中创造着属于自己的风景。对笛安的闸释,在与同辈的80后作家群体的对比中展开,并以文本细读的方式展示笛安的创作特色,以“低龄化的爱情”、“以‘局外人’的方式理解世界”、“字典式的写作”、“背叛——原谅的叙事模式”为题,从内容到形式,多角度的分析笛安的创作特色,展现她有别于其他同辈作家的特点。中篇选取几个蒋韵和笛安艺术特色上的交点进行对比性研究。一是共同的边缘性定位。蒋韵通过塑造处于时代边缘的人物形象展示社会历史对个体的冲击和影响；而笛安通过塑造主流视线之外的人物形象、充满戏剧冲突的情节去表达她内心深处对真善美等人类最原初的情感资源的认识。二是主题的观念性。蒋韵善用古典气息的意象和情节去展示她所追寻的那些被物质掩埋、被人们遗忘的观念；而笛安则一直通过写作的方式阐释自己对于这个世界的理解、对存在于世间的那些美好的敬畏。三是叙事的童话色彩。蒋韵更多的挖掘现实生活的童话成分,用审美的艺术手段处理生活；而笛安则将童话元素直接移植到她的故事中,运用想像力去点亮平凡的生活。并在对比中阐释这些差异产生的原因,彰显出兼为母女和不同代作家的她们在创作上的传承性和差异性。下篇简要梳理出造成蒋韵和笛安创作上同中有异的特殊风貌的原因,从家庭教育、时代变换、不同代际间的文化差异等几个角度切入,展示在这个瞬息万变的时代,文学内部的生长和传承。更多还原

【Abstract】 There are a lot of schools and phenomenons of literature in Chinese contemporary literature,but literature is multivariant and multisource,the things which compose it are not only celebrities and masterpieces.Many writers and literary works which have literature historic value are ignored by scholars and critics, are blocked by literary trends for a variety of reasons.So it’s one kind of important work for literature researchers that excavating and finding these writers and works.This paper chooses Jiang Yun and Di An who are mother and daughter this pair of writers whose achievement is higher than their reputation as studying target.lt purposes providing some inspiration of screening literature history and masterpieces by means of finding their distinctive.This paper starts from the creation characteristic of Jiang Yun and Di An,shows the smriti and difference between writers of the different generation by contrasting with the writers of the same generation and each other, mainly divided into three parts:The first part describes the artistic feature and characteristic of Jiang Yun’s and Di An’s compose separately.According to different features,Jiang Yun’s writing should be divided into three period:the first period(1979-1989). Jiang Yun had been in growing period,the path of her creation closed to herself experience and literature current.But Jiang Yun’s creation had shown the characteristic that Jiang Yun was good at catching individual living condition and intention course in a historical setting.The second period(1989-1999).Jiang Yun’s creation started to go on the way of seeking oneself,say goodbye to literature current.She wrote "death "subject again and again and drifted in thinking there existing significance in life.The third period(1999 up to now).The creation of Jiang Yun started to break away from the simplely discussion of philosophic subject,she came back to daily life,came back to Chinese traditional culture.Jiang Yun creates beatiful sight which belongs to herself originating from these sources.The interpret of Di An’s creation is compared with the writers in the same generation who were born in 1980s.And it shows the feature of Di An’creation that the way her version been careful read.The paper takes "the love in low age","understanding the world in the way of outsider","dictionary-rization subject writing’""betray-forgive’narrate pattern " as problems,arriving at form from content,much angle analyse the compose characteristic of Di An,shows her characteristic which is different from other writers of the same generation.The second part:the paper chooses some points of intersection of Jiang Yun’s and Di An’s creation characteristic to be compared.One is common borderline position,Jiang Yun shows the impingement that oneself face to society history through molding brink personages.Di An shows the interpret of the true,the good and beautiful through molding brink personages.Two is concept subject,Jiang Yun shows concept through classical circumstances,Di An shows interpret of the world through her creation.Three is children’s stories color narrating,Jiang Yun excavates the children’s stories color middle the actual life,and Di An uses imaginative faculty to lighten ordinary life.The third part subscribes the reasons that made the different style and features between the creation of Jiang Yun and Di An.It shows the internal growth of literature composes from some angles like home education,the times varies,culture differences of different generation.更多还原