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用刚学到的一个网络词说,笔者“力挺”当下作家或网络写手的荒诞写作。无论如何,它是国人对生存处境的某种意识,因而是人还活着的证明。其中的上乘之作,你甚至无形中会当作《官场现形记》、《儒林外史》、《清稗类钞》之类的当代版,而开心一笑。但是,这种认可主要是就某种文化价值而言,而不是艺术本体上的;更恰当地说,不是荒诞美学上的。两者有着交叉或包含关系,但终归有高下之别,不能互相代替。精神释放的快感毕竟不是审美愉悦,社会性讽喻毕竟不是到位的荒诞美学。人们当然可以在其它意义上使用荒诞一词并书写荒诞,但一个作家如果到此为止,认为这就等于荒诞写作,并以荒诞文学经典相标榜,这就有问题了。
With just a network of words that I learned, the writer “behind ” the writer of the moment or network writers absurd writing. In any case, it is a sense of the people’s state of existence, and therefore a proof that people are still alive. One of the superior, you even virtually as the “official portrayal”, “Scholars”, “clean barnyard notes” like the contemporary version, and happy smile. However, this recognition is mainly in terms of some cultural value, not on the body of art; more properly, not absurd aesthetics. The two have an intercross or containment relationship, but there is always the difference between them and can not be replaced by each other. After all, the pleasure of spiritual release is not aesthetic pleasure, social allegory, after all, is not in place absurd aesthetics. Of course people can use absurdity and write absurd in other senses, but if a writer ends up thinking that this is equivalent to absurd writing and advertises in absurd literary classics, then there is a problem.