乌托邦情结与《文城》《边城》的归乡书写

Utopian Complex and Back to Hometown Writing in Wen Cheng and Bian Cheng

作为对“现代”反应的产物,《边城》和《文城》都力图用片段的时间和零星的历史资料重新拼凑湘西和江南的一段历史图景,并让其在“现代”时间和历史概念的参与中有效地介入中华民族历史的进程,以乌托邦为情结中介完成各自的“归乡”书写。这段历史图景以空间为依托,借助沈从文的经验体知和余华的童年家乡,完成各自的精神乌托邦,展现各自“归乡”书写中的心理幻想。可时间和历史的双向互动导致文本呈现的空白和裂缝,理想的乌托邦构建也反向喻指精神“失”乐园。异时共地的空间表面是沈从文和余华归乡所在,实质是从现代的批判性入手,重新认知中国古代传统与现代文明之间承接和转换的可行性尝试。

As a product of the“modern”reaction,Bian Cheng and Wen Cheng both try to use fragments of time and sporadic historical documents to reconstruct a historical picture of Xiangxi and Jiangnan areas.With the participation of“modern”time and historical concept,they effectively intervene in the process of the history of the Chinese nation,so as to complete their respective“homecoming”writing with Utopia as a complex intermediary.Relying on space,this historical scene uses Shen Congwen’s experience and Yu Hua’s childhood hometown to complete their own spiritual Utopias and show their psychological fantasy in back to hometown wniting.However the two-way interaction of time and history leads to blanks and cracks in the text,and the ideal construction of Utopia is also a metaphor for the spiritual“lost”paradise.The spatial surface of different time and same place is where Shen Congwen and Yu Hua returned to their hometowns.The essence is to start with a modern critical approach to re-understand the feasibility of the inheritance and transformation between ancient Chinese tradition and modern civilization.