【摘要】：《傷痕》的創(chuàng)作、傳播與接受是一次復(fù)雜的集體話語實(shí)踐,是政治場/權(quán)力場所制約的文學(xué)場中,生產(chǎn)者、分配者、接受者等諸多參與者圍繞藝術(shù)創(chuàng)新與既有藝術(shù)慣例之間所發(fā)生的復(fù)雜博弈。"革命現(xiàn)實(shí)主義"作為舊有藝術(shù)慣例對《傷痕》原本遵循的"批判現(xiàn)實(shí)主義"路徑進(jìn)行了多重規(guī)訓(xùn),從而使小說在沖突與協(xié)商中最終建構(gòu)起了"傷感現(xiàn)實(shí)主義"這一新的藝術(shù)慣例。
[Abstract]:The creation, dissemination and acceptance of scar is a complex practice of collective discourse. It is a political field / place of power constrained by the literary field, producers, distributors, Many participants, such as recipients, revolve around the complex game between artistic innovation and established art practices. " Revolutionary realism ", as an old art convention, has redisciplined the path of" critical realism "originally followed by" scar ". Thus, the novel finally constructs the new art convention of "sentimental realism" in conflict and negotiation.
【作者單位】： 北京大學(xué)藝術(shù)學(xué)院;
【分類號】：I207.427

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