摘要
《二十四城记》和《出梁庄记》用不同的艺术形式、不同的题材,表达了相同的精神困境和艺术思考。两个艺术文本在内在精神和言语形式上构成了互文,一起见证了70后艺术家个人精神视域中的中国经验,象征了70一代人精神的回乡,这种精神回乡最终抵达的恰恰是"永远回不去的故乡"。处于转型期的中国,在经济获得一定发展以后,怎样真正地在日常生活中将"人文观照"和"社会救赎"有机地融合在一起,是两位艺术家创作的内部动因,也是潜意识里祈求获得的社会回应。
With different art forms and diversethemes,24 city andChu Liang Zhuang Ji expressed the same spiritual predicament and artistic thinking. Thetwodifferent artistic textsconstitute theintertextuality inthe form of inner spirit and vocal formals. Both of these workswitnessed the Chinese experience of the 1970s artists in personal mental horizons andalso symbolizeo the returninghomespiritually of the 1970s. However, such returning home spiritually is actually nothing butthenever-come-backhometown. Chinais now standing at the crossroad oftransition period.After thedecent economic development, it is the internal cause of the two artists and the social response subconsciously how to truly combine “humanistic observation”with“social salvation” organically in our daily lives.
出处
《温州大学学报（社会科学版）》
2015年第4期105-110,共6页
Journal of Wenzhou University：Social Science Edition
基金
国家社科基金重大项目(12&ZD168)
