“接受语境”下的“赵树理现象”

“Zhao Shuli Phenomenon” under “Reception Context”

赵树理以他的写作真正实现了文艺大众化的方针,在特定的时期被树为"方向",成为解放区文艺工作者的楷模;建国后,赵树理无论在创作上还是在人生境遇上都遭遇了磨难,"方向"的意义完全被剥蚀,从"宠儿"变为"弃子"。造成这种转变的一个关键原因就在于赵树理写作与特定时期的接受语境特别是意识形态语境对他的规约有关。因此,从接受语境的角度分析"赵树理现象",可以揭示在不同历史情境中意识形态话语对作家的创作要求与作家执著坚守自我写作理论主张两者之间的协调和冲突关系。

Zhao Shuli, via his writings, truly realized the principle of the literature and art popularization, was regarded as the ＂writing orientation＂ during a particular period of time and become the model for the literary and art workers in liberated area. After the year 1949, however, Zhao suffered both in his literary creativity and his life lot, being deprived of the identity of the ＂ writing orientation＂. He transited from the beloved to the abandoned. One of the key reasons to this transition can attribute to the fact that his writings were disciplined largely by the re- ception context, especially the ideological context during the particular time. Therefore, to analyze ＂ Zhao Shuli phenomenon＂ from the perspective of reception context can reveal the relation between the coordination and conflict, which derives from the writing requirements by the ideological discourse in different historical contexts and the self - persistent of creative theory from the writer himself.