新时期文化思潮中的“启蒙”、“国学”与“新国学”

陈国恩认为,中国20世纪80年代提倡的"纯文学",是在反对政治干涉文学的背景中提出的;90年代以后,纯文学逐渐失去了原来的批判对象而成为作家疏远民众生活的借口。何锡章等认为,"先锋文学"是通过隐性的语言革命来进行新叙事话语的实践,它的对文学史的贡献主要缘于它这一"语言反抗"的起点。李怡等认为,改革开放以来,中国社会文化围绕"启蒙"理想发生了一系列变化,从"启蒙"到反启蒙背景上"国学"的提出再到"新国学",深刻反映了中国知识分子的精神嬗变。贺芒认为,产生于改革开放之初的"打工文学"近来引起了文坛的广泛关注;对作家底层身份的强调,使打工文学产生了很大的社会效应,但其艺术上的异质性元素则始终未获得承认。袁联波认为,建立成熟而富于民族意味的"写意戏剧"是一百年来中国戏剧家们的梦想,这一观念折射出的是中国戏剧界企图借助其来更新戏剧观念、开阔戏剧视野的文化策略。

Chen Guo'en holds that the'pure'literature proposed in 1980s had its context of opposing the political interference of literature.Since 1990s,pure literature has gradually lost its original target and become a pretext of the writers' alienation from people's life.He Xizhang holds that the'avant guarde literature'is a practice of new discourse of narration through a hidden linguistic revolution.Li Yi holds that since the reform and opening,Chinese social culture has gone through a series of change,the evolution of the mind of Chinese intellectuals is deeply reflected fom'enlightenment'to'neo-studies on tradition'in the context of anti-enlightenment.He Mang holds that the'literature of immigrant workers'has produced a social effect,but its artistic alien elements are yet to be recognized.Yuan Lianbo holds that it is the dream of the Chinese dramatists in the past hundred years that the'freehand drama'full of national meaning is to be constructed.This idea reflects a cultural strategy to renew a dramatic idea and to extend the field of drama.