近三十年“城乡交叉地带叙事”中的“新才子佳人模式”--以《人生》、《高老庄》、《风雅颂》为中心的考察

The"New Romantic Mode"in the Works of"Urban- rural Cross- zone Narrative"in the Latest 30 Years:Focus on the Cases Studies on Rensheng,Gaolaozhuang and Fengyasong

"新才子佳人模式"是20世纪80年代以来渐成潮流的"城乡交叉地带叙事"中的重要类型。它并非传统文学书写中才子佳人模式的简单重复,而是在情爱波折中映现着城市/乡村、现代/传统的复杂纠葛。"乡村才子"凭借知识建构城市精英这一主流身份相对而言从易到难的历程,是近三十年人文知识分子处境的缩影;而他们与"乡村佳人"之间基于知识资本之有无的关系历程,在强化男性中心的性别文化格局时,也塑造着女性的被动性。然而,对"乡村佳人"的占有,无法真正消除"乡村才子"处于"城乡交叉地带"的心灵漂浮体验,并不能使其获得精神拯救。

The New Romantic Mode as one of the important types in the works of ＂Urban- rural Cross- zone Narrative＂ since the 1980s, is not a simple repetition of the romantic tradition of literary, but mapping the love stories with the ur- ban/rural, modern/traditional complex disputes. It is nearly the microcosm of human intellectual situation in the latest 30 years that the course of ＂Village Genius＂ constructing their urban elite identity with their knowledge relatively from easy to difficult; and while they shaped the female passive position when they strengthened the pattern of the male- centered culture by their relationship with the ＂Village Girls＂ with the knowledge - based capital. However, the possession of ＂Village Girl＂, can＇ t really eliminate the spiritual experience of floating of the ＂village genius＂ in ＂cross - areas between the urban and rural＂, and can＇t make them obtain the spiritual salvation.