摘要
对"文革"后初期的文学,人们习惯以"伤痕文学"、"反思文学"来进行概括和区分。但是,这样的划分方式固然界限清晰,却也太过简单。在考虑文学史所要求的清晰性和周密性的基础上,我们应该将这两类创作看做一个整体,它们都是"文革"后作家对苦难历史(既包括"文革"也包括"十七年"及更早时段)的一种回忆性记叙和情感抒发。这其中包括1976年底到1977年底之间出现的作品。在某种意义上,"文革"后初期出现的小说作品大部分属于控诉型文学。从思想表现的深度与文学主题等角度来说,反思文学较前一时期的控诉文学有了较大的突破与超越,但是这种突破也是有局限的,并没有达到应有的高度。创作环境与创作主体自身的缺失导致了反思眼光的弱视。20世纪80年代的政治与文学的联姻关系,不仅给予文学创作主体一个难以超越的门槛,同样也深深地影响到了文学作品的接受。
The Chinese literature shortly after the Cultural Revolution is usually classified into Scar Literature and Introspection Literature . This classification is clear but too simple. Since literary history requires clearness as well as rigorousness these two types of literature should be considered as a whole. It is also because they are both the writers' account of their bitter memories and a release of their pent-up feelings after the Cultural Revolution era (the Cultural Revolution period, 'the 17 years' period and earlier times). These include the works from the end of 1976 to the end of 1977, most of which, to some degree, fall into the category of Condemnation Literature . In terms of the depth of thought and literary themes, 'Introspection Literature' has made a greater breakthrough than early 'Condemnation Literature', but it is somewhat limited. The environment of creation and the absence of subjectivity have resulted in the 'amblyopic' of writers' reflective perspective. The 'marriage' between politics and literature in 1980' s has raised the threshold of literature to a level which is very difficult for not only those who produce literary works but also those who accept them.
