“江南三部曲”的中国式虚构与抒情

On the Chinese Style Fiction and Lyricof the "Jiangnan Trilogy"

江南三部曲包含"虚构"与"抒情",在"写实"与"载道"的传统之外,接续了中国文学"虚构"与"抒情"的文学能力,且迥异于西方。在虚构技巧方面,江南三部曲自"写实"中生发出幻灭与诗意;在抒情风格方面,江南三部曲承接了中国传统文化中的抒情传统,包括"红楼遗梦""纸上江南"两大文学传统。江南三部曲的"虚构"与"抒情"体现了格非对中国传统文化的深刻思考,这一深刻思考被深深地嵌于20世纪90年代文学创作的范式转换之中。

＂Jiangnan Trilogy＂is full of ＂fiction＂ and ＂Lyric＂ in the ＂realism＂ and ＂moral＂ tradition, following the literary competence of ＂fiction＂ and ＂Lyric＂ of Chinese literature, which is quite different from the western literary competence.In the fictional techniques, Jiangnan Trilogy produces disillusion and poetic lyric stylefrom the ＂realism＂; in terms of lyric style, itinheritslyric tradition of the Chinese traditional culture, including the two major literary tradition of＇Red Mansions＂ and ＂Jiangnan Paper＂.In addition, the ＂fiction＂ and ＂lyric＂ of Jiangnan Trilogy reflects Gefei＇s deep thinking for Chinese tradi- tional culture, which is deeply embedded in the paradigm shift of the literary creation in 1990s.