野地神话的危机与缔造——谈高更艺术旨归对张炜小说创作的影响

A Talk on the Impact of Gauguin's Art Aim on Zhang Wei's Novel Writing

工业技术文明挤兑下"单向度的人",成为"城市食物"、"机械零件"的标识。难能可贵的是,张炜小说内在的对话性构成对现下时代的有力发声。怀有"生命温度"与"诗性关怀"的"在场性"表达,成为对"远逝的风景"最艰难的指认。法国后期印象派大师高更"逆行的归程"人生艺术旨归与张炜小说创作中"野地神话"缔造的对话相契相合。论文从"逆行归程式流浪汉"形象,文体肌理中"月亮"隐喻意象两方面来捕捉两者微妙的内在艺术关联。他们寂寞的"逆向归程"之旅,本质上正是审美现代性原始情愫根柢下人与自然的生态整体主义美学观。从此点切入也许可以更深入地体认张炜缘何执著近乎顽守地一再诉说出有关野地的神话,贡献出一系列"大溪地"式作品。

Under the impact of industrial and technological civilization,the ＂one-dimensional person＂ becomes the symbol for ＂urban food＂ and ＂machine parts＂.What is commendable is that the intrinsic conversationality in Zhang Wei＇s novels has formed a powerful echo to the current era while the ＂on-the-spot＂ expression marked by ＂life temperature＂ and ＂poetic concern＂ has become the hardest identity of the ＂vanished scenery＂.Given the affinity between the life and art aim in the ＂regressive return journey＂ of Gauguin—a French master of post-impressionism,and the dialogues initiated by ＂the wilderness myth＂ in Zhang Wei＇s novels,this paper attempts to expound on their subtle innate artistic connection in terms of the image of ＂a tramp in a regressive return journey＂ and of the metaphoric image of the ＂moon＂ in the literary style.Their lonesome journey of ＂regressive return＂ is essentially the aesthetic concept of eco-holism between man and nature built upon the primitive feelings of aesthetic modernity.It is from this aspect that Zhang Wei＇s dogged adherence to the the wilderness myth and his production of a series of works on that theme can be fully comprehended.